278 MY COUNTRY AND MY PEOPLE eves have been opened to the form and rhythm inherent in every animal's body and limbs. Every animal body has a harmony and beauty of its own, a harmony which grows directly from its vital functions, especially the functions of movement. The hairy legs and tall body of the draught-horse are as much a form of beauty as the more neatly formed outline of the racing-horse. That harmony exists in the outline of the swift, springing greyhound, as it exists also in that of the hairy Irish terrier, whose head and limbs end almost in square formations—strikingly represented in Chinese calligraphy by the blunt li-shu style (current in the Han Dynasty and elevated into an art by Teng Shih-ju of the Gh'ing Dynasty). The important thing to observe is that these plant and animal forms are beautiful because of their suggestion of movement. Consider a sprig of plum blossoms. How care- lessly beautiful and artfully irregular it is! To understand the beauty of that sprig fully, artistically, is to understand the underlying principle of Animism and of Chinese art. The sprig, even when deprived of its blossoms, is beautiful because it lives, because it expresses a living impulse to grow. The outline of every tree expresses a rhythm resulting from certain organic impulses, the impulse to grow and reach out toward the sun- shine, the impulse to maintain its equilibrium, and the necessity of resisting the movement of the wind. Every tree is beautiful because it suggests these impulses, and particularly because it suggests a movement toward somewhere, a stretching toward something. It has not tried to be beautiful. It has only wanted to live. Yet the result is something perfectly harmonious and immensely satisfying. Nor does nature artificially invest the greyhound with an abstract beauty apart from its functions: the high arch of the greyhound's body and the connecting line between its bodyand its hind legs are built for swiftness, and they are beautiful be- cause they suggest swiftness. Yet from this harmonious function emerges a harmonious form. The softness of the cat's move- ments results in the softness of its contour^ and even the jogged squatting outline of a bulldog has a beauty of force dl its own. This is the explanation of nature's infinite richness >f patterns, which are always harmonious> always rhythmic.